AS
ENGLISH LANGUAGE AND
LITERATURE
7706/1 Views and Voices
Report on the Examination
7706
June 2016
v1.0
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REPORT ON THE EXAMINATION – A-LEVEL ENGLISH LANGUAGE AND LITERATURE A – 7706 – JUNE 2016
General
In this first series of the new AS specification most students showed good engagement with their
chosen texts and answered relevantly on the set questions. There were very few incomplete scripts
or rubric infringements. Many students appeared to have divided their time wisely between the two
sections, although examiners noted that there were a number of relatively brief answers and some
students spent too long on Section A at the expense of less developed answers on Section B. As
expected, there was a wide range in the quality of responses. There were some excellent answers
that attracted full marks; there were also responses that contained very little analysis of the
language of the extracts and poems.
Examiners reported that responses to the poetry questions tended to contain more detailed
language analysis. In fact, some students who hardly included any precise linguistic comment in
their Section A answers, were able to produce much more detailed and successful analysis in
Section B.
The overall impression from responses is that AO1 is the more challenging assessment objective for
many students. The central ethos of this specification is that analysis of texts is best done through
the systematic and accurate analysis of their language features. There were a number of students
who used little or no terminology, applied terminology incorrectly or used terms imprecisely. For
example, there was often confusion between simple and minor sentences, adjectives and verbs,
simile/metaphor/personification, elision and ellipsis, and ‘juxtaposition’ and ‘oxymoron’ were
frequently used for any kind of contrast. It was pleasing to see students attempting to analyse their
texts using newer concepts and analytical tools. A number of students explored deictic patterns,
although some were unsure about what constituted deixis and applied the term to any temporal or
spatial reference. Students and teachers may find the following link helpful in discussing deixis:
https://thedefinitearticle.aqa.org.uk/tag/deixis/
Examiners noted that some students are tending to feature-spot, using linguistic labels purely for
the sake of it, rather than discussing how particular word choices create meaning. One of the major
areas where students could improve is in the selection of language levels to purposefully explore
the ways the writer has constructed the narrative in the prose text and in the construction of the
poetic voice and the presentation of time, place, people and events in the poetry. Terminology
needs to be used accurately as a tool to explore how meaning is created, rather than simply
labelling.
Key messages for students:
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be prepared to focus on language techniques used by writers—analysis needs to be
meaningful and precise
be able to apply terminology accurately—link features with interpretation
be able to comment on the writer’s use of point of view
be able to write about how the storyworld is created in fiction and how the poetic voice is
constructed in poetry.
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REPORT ON THE EXAMINATION – A-level English Language and Literature – 7706 – JUNE 2016
Section A - Imagined Worlds
The following marks are awarded for assessment objectives:
AO1 (20 marks) – Apply concepts and methods from integrated linguistic and literary study as
appropriate, using associated terminology and coherent written expression.
AO2 (15 marks) – Analyse ways in which meanings are shaped in texts.
The AO1 mark focuses in particular on students’ ability to apply linguistic/literary concepts and
methods to prose fiction, using appropriate terminology in order to analyse narrative technique. It
also rewards the ability to maintain an academic style throughout the essay.
The AO2 mark focuses on students’ interpretations and ideas in response to the question, and their
ability to examine the ways in which meanings are shaped through the selection of relevant parts of
the extract.
This section focuses on how language choices help to shape the representations of different worlds
and perspectives in prose fiction. The concept of ‘world building’ and how writers use language to
create a fictional storyworld is important in this section and it was surprising that relatively few
students dealt with this directly. The most successful answers were able to integrate a consideration
of narrative point of view within their response to particular questions.
The most popular prose text was clearly The Handmaid’s Tale, with Dracula being the minority
choice.
As a general overview, successful responses:
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focused on the question
discussed the construction and effects of narrative point of view
supported ideas by exploring the language of relevant quotations
applied terminology accurately
used precise terminology and explored in detail how meanings are shaped
made considered and relevant use of different concepts and tools (eg types of narration,
modality, representation of speech and thought)
provided interpretations that were well supported by detailed evidence from the text
showed awareness of the conventions of Gothic or dystopian fiction but did not allow this to
dominate answers
produced sustained answers
produced well expressed, clearly structured answers.
As a general overview, less successful candidates:
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did not adequately address the question
did not use precise terminology or made errors in the application of terminology
used general labels (eg ‘word’, ‘tone’, ‘imagery’) rather than more precise terms
feature spotted, with very limited exploration of meaning
made broad assertions, not supported by clear examples
included very long quotations or did not well contextualise quotations
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drifted off the focus of the question into more general considerations of genre
produced very brief responses with only a few superficially relevant ideas
produced answers that were poorly expressed.
Question 1: Frankenstein
This question was concerned with the presentation of place, in particular the mountain setting of the
extract. There were many pleasing responses to this question, showing students’ understanding of
how the presentation of the mountain scenery reflects Frankenstein’s state of mind and how this
changes as the narrative in the extract progresses. However, very few answers made any reference
to the poem and how this signals a change in Frankenstein’s attitudes. Most students recognised
the shift in the latter part of the extract towards a more positive attitude, a recognition of the healing
powers of nature and the uplifting presence of the mountains. Many students commented on the
use of ‘awful majesty’ but most thought that this was an oxymoron and spent some time explaining
how it illustrated Frankenstein’s conflicted feelings about the mountain, without realising that ‘awful’
in Shelley’s Nineteenth Century vocabulary meant ‘awe inspiring’. Many students showed an
awareness of gothic conventions and the ideas of the Romantic Movement and were able to
relevantly use this in their answers.
Successful responses:
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showed clear awareness of Victor Frankenstein’s narrative viewpoint in the extract
explored how Frankenstein’s shifting attitude is presented
contrasted the more sombre description of the mountain in the first half with the sense of
wonder in the second half
explored the description of the mountain setting in detail and correctly identified language
features that helped to present if as both overbearing and awe-inspiring
considered how the presentation of the mountain setting reflected Frankenstein’s state of
mind and supported this with clear evidence from the extract
included perceptive and relevant comments on the philosophical concepts in the extract.
Less successful responses:
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mistakenly identified the narrative viewpoint as being the creature’s. Whilst this did perhaps
reflect some of the doppelganger links between Frankenstein and the creature, it also led to
some unconvincing and skewed interpretations
commented on the mountain scenery as being purely symbolic of what has happened in
Frankenstein’s life and provided only broad interpretations. These were often not very
convincing and there was much over-interpretation of small details – for example, the broken
trees were seen as representing the difficulties in life or the people the creature has killed or
even the Industrial Revolution
struggled to engage with details from the extract and what these conveyed
made vague and generalised comments on how ‘tone’ is created or how ‘tension’ is built up
made over-stated claims for the significance of alliteration or sibilance
identified semantic fields but lacked more precise exploration of words, their meaning and
effects and made broad comments about them being negative or positive
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REPORT ON THE EXAMINATION – A-level English Language and Literature – 7706 – JUNE 2016
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showed limited awareness of Shelley’s use of language and misunderstood ‘terrifically
desolate’ and ‘awful majesty’
allowed comments on Gothic conventions to dominate answers.
Question 2: Dracula
This question was concerned with the presentation of place, in particular the presentation of the
storm in Whitby in the extract. There were many sound responses to this question, with most
students showing an understanding of the context of Dracula’s impending arrival in Whitby. Very
few, however, commented on the narrative viewpoint of the newspaper article and some students
thought that the extract was written from Mina’s point of view. There was a recognition of the
destructiveness of the storm, the appeal to the senses, links to death, and often a recognition of
links to Dracula himself; a few students recognised touches of admiration in the narrative voice. As
with responses to some of the other Section A texts, some students made over-stated claims for the
effects of alliteration. The sibilance in ‘sea-mist swept’ was often claimed to create a sinister tone,
although exactly how was never explained. There were more convincing points made about the
breathy effects created by alliteration of the ‘w’ in ‘white wet clouds which swept’.
Successful answers:
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dealt with the newspaper framing of the narrative, engaging with the idea that it provided a
more objective, external view of events
commented on reader positioning
explored in detail a range of language techniques to present the power of the storm
used details from the extract to explore how the storm complemented Dracula’s arrival.
Less successful answers:
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made no comment about narrative viewpoint
relied on broad labels, such as ‘positive’ and ‘negative’ to describe the language used to
present the storm
misused word classes, in particular labelling “roaring” and “devouring” as verbs
lost focus on the presentation of the storm itself and wrote about Dracula
allowed comments on Gothic conventions to dominate answers.
Question 3: The Handmaid’s Tale
This question was concerned with characterisation, in particular the ways in which Moira is
presented in the extract. This was by far the most popular prose text and candidates clearly enjoyed
responding to the extract, demonstrated through the wide range of sensitive interpretations of
Moira’s character and her experiences. Most candidates were able to make sound observations on
Moira’s character, commenting that she was: rebellious, unchanged, a leader, opinionated, cynical.
There were some perceptive points made about the wires on Moira’s costume symbolising
entrapment, and also about the way Moira uses the second person in ‘your gang’ as a way of
‘othering’ the Handmaids. A surprising number of students struggled to spell Moira correctly,
preferring instead ‘Moria’ or ‘Maria’.
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Successful responses:
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maintained a relevant focus on the presentation of Moira
showed awareness of the narrative viewpoint of Offred
showed an understanding of Moira’s lack of control over her life in Jezebel’s and that she
was showing a certain amount of bravado
discussed the way Moira spoke and behaved, and the way others responded to her,
understanding that she had retained at least some of her rebellious spirit, despite the
situation
explored in detail a range of language techniques used to present Moira as rebellious and
confident
provided some subtle interpretations of Moira’s situation at Jezebel’s.
Less successful answers:
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struggled to maintain focus on the presentation of Moira and commented more on Offred
and her feelings
made no comment on Offred’s narrative viewpoint
included less convincing interpretations of Moira’s character, such as she is dangerous, or
motherly
claimed that Moira had chosen to be in Jezebel’s and had choices in what to wear and was
thus happy with her lot
claimed that Offred feels unsafe at first because Moira is unpredictable and might be
dangerous
misunderstood the verb ‘teeters’ and claimed that it shows she is confident or happy
discussed at length less central or less relevant details such as the ‘pink cubicle’ or the
‘black van’
drifted into a discussion of the dystopian society of Gilead and lost sight of the central focus
on Moira.
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REPORT ON THE EXAMINATION – A-level English Language and Literature – 7706 – JUNE 2016
Question 4: The Lovely Bones
This question was concerned with characterisation, in particular the ways in which Lindsey is
presented in the extract. On the whole, Lindsey’s character was well-understood. Many students
were able to place this extract into context, demonstrating an awareness of the significance of the
extract within the novel. They were able to track her feelings towards others and present often
sympathetic interpretations about her motivations. Many focused relevantly on her instructions to
herself and made sound comments on the use of metaphor and simile in the extract. It was
surprising that a number of candidates made no mention at all of narrative viewpoint as there was
much that they could discuss about how the reader is presented with Lindsey through her dead
sister’s point of view.
Successful answers:
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discussed how Lindsey is presented through Susie’s narrative viewpoint
engaged with Susie’s unusual narrative viewpoint, and the idea that as she is dead she is
not bound by time or space
showed awareness of the conventions of fantasy genre in allowing a perspective on events
and an insight into Lindsey’s thoughts and feelings
discussed Lindsay’s vulnerable state and how she had to arm herself against sympathy so
as not to break down
commented thoughtfully on Lindsey’s direct speech in ‘What exactly is my loss?’ and
recognised this as a dispreferred and face-threatening response
explored in detail a range of language techniques to present Lindsey’s methods of coping
with Susie’s death
made perceptive and relevant comments about Sebold’s use of italics.
Less successful answers:
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showed no awareness of narrative point of view
discussed Susie as much as Lindsay, and focused on their relationship
included unconvincing interpretations of Lindsey’s character
labelled features, such as the simile ‘like a stone’, without making any comment on its effects
suggested that Lindsey’s direct speech to the principal showed she just wanted to forget
Susie and get on with life as normal, or that she asked the principal ‘exactly what is my
loss?’ because she didn’t know
drifted into a broader discussion of how Lindsey is presented at other points in the novel.
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REPORT ON THE EXAMINATION – A-level English Language and Literature – 7706 – JUNE 2016
Section B: Poetic Voices
The following marks are awarded for assessment objectives:
AO1 (15 marks) – Apply concepts and methods from integrated linguistic and literary study as
appropriate, using associated terminology and coherent written expression.
AO2 (15 marks) – Analyse ways in which meanings are shaped in texts.
AO4 (10 marks) – Explore connections across texts, informed by linguistic and literary concepts and
methods.
The AO1 mark focuses in particular on students’ ability to apply linguistic/literary concepts and
methods to poetry, using appropriate terminology in order to analyse poetic technique, the
construction of the poetic voice and the presentation of time, place, people and events. It also
rewards the ability to maintain an academic style throughout the essay.
The AO2 mark focuses on students’ interpretations and ideas in response to the question, and their
ability to examine the ways in which meanings are shaped through the selection of relevant parts of
the given poems.
The AO4 mark focuses on students’ ability to make links between poems and explore similarities
and differences.
This section focuses on the nature and function of poetic voice in the telling of events and the
presentation of people. The role of language in the construction of perspective is particularly
important.
Overall, students’ responses to the poetry questions tended to be more detailed and analysed
language more precisely than answers on the prose texts and examiners noted that there were
many excellent answers on the poems. Better responses homed-in on specific features, used
terminology accurately and explored meaning precisely. Less successful answers used more
general labels, such as ‘word’, ‘imagery’ or ‘tone’, and made broad assertions about effects.
There were some very pleasing answers that discussed the effects of particular poetic techniques,
although some students struggled to comment on these effectively. Caesura and enjambment were
often mentioned, but rarely to any real purpose. There were many broad comments about
enjambment helping ideas to ‘flow’ without specific examples or more detailed analysis. There were
also some very broad, often over-stated, claims about the effects of different stanza lengths or
structures. Some broad, often unconvincing, assertions were also made about the effects of
phonology, although examiners also noted some thoughtful and detailed work describing sounds
with accurate terminology and closely analysed effects.
Most students were able to make connections between the poems and, on the whole, comparisons
were sustained well. However, an issue for some was in organising their comparative approach.
Some candidates used the approach of looking at one poem first, then bringing in the second and
comparing. This was often, though not always, unhelpful, as it tended to lead to limited comparison
being made and uneven coverage, particularly if the student ran out of time on the second poem.
Sometimes points were set up as comparisons but were not comparing like with like, either
thematically or linguistically.
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REPORT ON THE EXAMINATION – A-level English Language and Literature – 7706 – JUNE 2016
As a general overview successful responses:
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focused on the question
discussed the construction and effects of poetic voice
supported ideas by exploring the language of relevant quotations
applied terminology accurately
used precise terminology and explored in detail how meanings are shaped
made considered and relevant use of different concepts and tools (eg modality,
phonoaesthetics)
made thoughtful and relevant comments on the poets’ use of rhyme patterns, enjambment,
caesura
provided interpretations that were well supported by detailed evidence from the poems
made detailed comparisons between the poems
covered both poems evenly
produced sustained answers
produced well expressed, clearly structured answers.
As a general overview less successful responses:
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did not adequately address the question
misinterpreted elements of the poems
did not use precise terminology or made errors in the application of terminology
used general labels (eg ‘word’, ‘imagery’) rather than more precise terms
feature spotted, with very limited exploration of meaning
made over-stated claims for phonology and/or enjambment
commented on rhyme scheme patterns with no link to the question
made broad assertions, not supported by clear examples
made little or no comment on poetic voice
made few or very simple and general connections
produced very brief responses with only a few superficially relevant ideas
produced answers that were poorly expressed.
Question 5: John Donne
This question was concerned with how people and their relationships are realised through point of
view, attitude, specific registers, physical descriptions, speech and thought, in particular on the
attitudes of the poetic voices towards their lovers. A relatively small proportion of candidates
answered this question. Where students understood the poems, there was thoughtful engagement
and close analysis of detail. However, less successful responses revealed that some students had a
limited appreciation of what the poems were really about, particularly in ‘The Apparition’. Most
recognised that the relationship in ‘Valediction’ is closer than that in ‘The Apparition’, but there were
many insecure readings. There tended to be more secure interpretations of the relationship in ‘A
Valediction’, although students often found it difficult to discuss the vocabulary and imagery used,
and frequently seemed rather confused by the compass conceit because they envisaged a different
kind of compass to the one Donne intended. Some students did not comment on the conceit at all.
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REPORT ON THE EXAMINATION – A-level English Language and Literature – 7706 – JUNE 2016
Successful responses:
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discussed how the poetic voices convey attitudes towards their lovers and supported this
with clear evidence from the poems
explored the language of the poems in detail, discussing how requited and unrequited love is
conveyed
explored the conceit of the compass in a convincing and relevant way
showed evidence of a secure understanding of the details of both poems.
Less successful answers:
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made very broad and general points about the speakers’ attitudes to the lovers
misinterpreted aspects of ‘The Apparition’
took ‘The Apparition’ literally and thought that the poetic voice had actually been murdered
made no attempt to explore the conceit in ‘A Valediction’
made unhelpful or very basic points about the use of rhyme, unconnected to the question.
Question 6: Robert Browning
This question was concerned with the importance of place, the ways in which locations and
memories are captured in voices and their effect on individuals, in particular how Browning presents
England and Italy. There was quite a wide range in the quality of responses to this question, from
answers that focused clearly on a number of ways in which Browning has presented England and
Italy, to those that revealed that the poems were not always well understood, particularly ‘De
Gustibus’. Generally, comments on ‘Home Thoughts From Abroad’ were better than on ‘De
Gustibus’. Most students were able to discuss a number of valid comparisons between the poems
and understood that England and Italy are presented differently. There were some interesting, but
occasionally rather wayward, interpretations of the viewpoint of the first stanza of ‘De Gustibus’:
from the deceased Elizabeth Browning’s point of view; Browning addressing a dead friend; from the
point of view of a blackbird. Most students recognised that the poetic voice in both poems was likely
to be Browning’s own, given his personal experiences of coming from England but moving to Italy,
although a number of students asserted that both poems are dramatic monologues, which is
debateable.
Successful answers:
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recognised the poetic voice’s love of both England and Italy
included perceptive comments on the more subtle differences in attitudes towards England
and Italy, supported by close analysis of language details
used the speakers’ emotional attachment to England and Italy as a basis for comparisons
suggested convincing interpretations of the first stanza in ‘De Gustibus’
made valid and interesting comments on phonoaesthetics, supported by close analysis of
details
used biographical knowledge to enhance interpretations.
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Less successful answers:
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made limited or insecure comments on poetic voice
misinterpreted aspects of ‘De Gustibus’
asserted that the first stanza of ‘De Gustibus’ was about Italy not England
made unhelpful/very basic points about the use of rhyme and structure, unconnected to the
question
made quite broad comments about language, in particular applying more general labels like
‘positive lexis’, ‘negative lexis’, ‘aural imagery’, without more precise focus on exploring the
meaning of details
identified semantic fields but provided only one example
broadly asserted that particular words were either euphonious or cacophonous with no
explanations as to why this was so
drifted into biographical detail not well linked to the question.
Question 7: Carol Ann Duffy
This question was concerned with the presentation of events and people, in particular how the
poetic voices present the experiences of youth. This was by far the most popular of the poetry
questions and many students showed a real engagement with the poems and had clearly enjoyed
studying them. Most answers were relevant and showed that students had a basically sound
understanding of Duffy’s intentions. It was pleasing to see a wide range of features being analysed
in both poems, with students really taking advantage of the wealth of content available. There were
some responses, however, where understanding of the viewpoint in both poems was not secure;
some did not identify the speaker of ‘The Captain’ as almost certainly a male persona rather than
Duffy herself, and some failed to grasp that the speaker of ‘Before You Were Mine’ was describing
her mother’s youth, not her own. Better responses more precisely identified the poetic voice and
made careful selections from the poems to explore his or her attitudes. Many students made
thoughtful comments about the use of the ‘fizzing’ image in both poems, although few recognised
that ‘fizzing’ in ‘The Captain’ is used as an adjective and not a verb. Most students were able to
discuss how both poems portrayed youth as exciting and carefree, which was then lost in later life.
There were many interesting connections made between the poems: celebrities appear in both
poems; both deal with attention to appearance; both show a contrast between work and having fun;
‘The Captain’ shows conforming to authority whereas ‘Before You Were Mine’ shows rebellion;
wanting attention from teachers vs admirers; both refer to young love; early teens in ‘The Captain’
vs later teens in ‘Before You Were Mine’; mothers proud vs disappointed; happy to be alone vs
happy with friends.
Successful responses:
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showed evidence of a secure understanding of the point of view in the poems
included sound analysis of how the attitudes of the poetic voices are conveyed towards
youth
showed awareness of the more subtle differences in attitudes towards their youths of the
‘Captain’ and Duffy’s mother
recognised that there are two ‘youths’ being presented in ‘Before You Were Mine’—Duffy’s
and her mother’s
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based comparative discussions around the feelings about youth expressed by the poetic
voices, rather than being led by features themselves.
Less successful responses:
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misinterpreted the poetic voice of one or both poems
asserted that the poetic voice in ‘Before You Were Mine’ was a man addressing his lover
misunderstood references in the poems, such as the ‘Bzz’ in ‘The Captain’ and ‘the
thousand eyes’ in ‘Before You Were Mine’
focused heavily on sentence types and very few other features
included irrelevant ideas and lost focus on the theme of youth
wrote about the theme of time rather than youth—perhaps reproducing an earlier practice
essay.
Question 8: Seamus Heaney
This question was concerned with the importance of place and memories, and also the presentation
of time in understanding the past and reviewing past experiences, in particular through Heaney’s
presentation of nature. This was another popular question, although not quite as popular as
Question 7. Most students clearly appreciated how both poems featured a change from positive to
negative and linked this to growing up and a loss of innocence. There were some excellent answers
that recognised Heaney’s disillusionment with nature, as exemplified in the blackberries and frogs,
and explored in detailed how this is conveyed, linking it to the fact he was growing up and that his
perspective on life was changing. There were also some excellent comments on the presentation of
place and exploration of ‘world-building’ through engagement with the language of the poems. Many
answers included thoughtful comments on how references to specific places and times of the year
are important in the poems. A number of students discussed the use of deixis, although this term
was not always applied securely. Some students appeared to believe that any temporal or spatial
reference is ‘deictic’, for example, claiming that Heaney had used temporal deixis in ‘late August’. In
terms of comparisons, most students were able to make a number of connections between the
poems and offered mostly valid interpretations of the significance of Heaney’s experiences with
nature.
Successful responses:
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perceptively explored the subtleties in the speakers’ conflicting views of nature within each
poem
identified the speakers’ passion for nature through close focus on details
commented on a range of techniques used to present the blackberries and frogs and offered
purposeful explanations as to their impact
explored in detail the shift in attitudes in both poems
explained in detail how Heaney has created an adult voice looking back on childhood events
made relevant and secure comments about Heaney’s use of discourse and rhyme in both
poems.
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REPORT ON THE EXAMINATION – A-level English Language and Literature – 7706 – JUNE 2016
Less successful responses:
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struggled to explain the adult perspective on childhood events and asserted that the first
stanza was from a child’s perspective and the second from an adult one
oversimplified the shifting tone in both poems by picking out isolated words to prove that the
first stanza in each case was entirely positive and the second negative
made assertions about Heaney’s use of sensuous imagery but did not analyse details
lacked more precise language analysis and included over-simplified or rather unconvincing
interpretations of examples from the poems
made unhelpful or very basic points about the use of rhyme and structure, unconnected to
the question
rather narrowly interpreted both poems as being about a growing awareness of sex, or that
Heaney was writing about man’s destruction of nature
included irrelevant ideas – perhaps pre-prepared answers on ‘childhood’.
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Advice to students
To improve performance in the different assessment objectives on this unit, students are advised to
do the following:
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learn how to apply a range of terminology accurately and precisely
practise exploring how the writer’s particular language choices create meanings and
effects. If AO1 techniques are not identified in detail, it makes it harder for students to more
precisely interpret effects for AO2
make detailed as well as general comparisons. Explore how each poet uses particular
techniques. A general comparison really needs to be followed by more detailed
examination.
Mark Ranges and Award of Grades
Grade boundaries and cumulative percentage grades are available on the Results Statistics page
of the AQA Website.
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